Musicianship, 4th Grade

The Suite Allemande
Origin Time Signature Tempo Notation Style Features Position Form moderate mostly semiquavers serious anacrusis semiquaver 1 binary fast running passages slow harmonic texture and ornaments moderate flowing easily Light and rapid continuous division of its beats into 3s differing often fugal treatment of principal idea 5 binary German
Courante
French and Italian
Sarabande
Spanish
Minuet
French
Gigue
German
French cross-accents dignified character simple Italian free flowing Both: anacrusis strong emphasis on 2nd commences on 1st beat French dotted notes beat of bar of bar Italian running quavers 2 binary 3 binary 4 binary
J.S. Bach

Born: Eisenach, Germany 1685 Played violin, viola, organ and clavier Showed amazing musical ability and had a treble voice Weimar 1708-1717 (Organ) o Court Organist and Chamber Musician to Duke Ernst o Developed technique as an organist to a high degree o Most organ pieces written here o Became leader of the orchestra with Chapel obligations o Wrote 30 cantatas at Weimar Cothen 1717-1723 (Instrumental) o Appointed conductor to Prince Leopold of Cothen o Duty direct the Court Orchestra o Creative energies diverted into new field concerted instrumental music o Wrote sonatas, concertos and most of the clavier music Leipzig 1723-1750 (Church Music) o Cantorship of St Thomas School o Mature period composed all his greatest devotional music o Wrote: Goldberg Variations, Book II of the 48, The Musical Offering Composed enormous number of works He represented the period when the suite reached its highest point After his death, his works were revived largely due to the enthusiasm of Mendelssohn a hundred years later Today, he is regarded as one of the greatest composers of all time man whose music is loved and enjoyed by many
Georg Frideric Handel

Born: Halle, Saxony, Germany 1685 Childhood his father wanted him to take legal studies at the University at Halle At 18 he became a violinist at the German Opera House Influenced by Keiser, Telemann and Mattheson At 21, he went to Italy acquired a high reputation as a performer on harpsichord and organ Later Years: o Hanover given the position of Director of Music o London brought immediate fame with his opera, Rinaldo. o Stayed in London and undertook the direction of Italian opera at the Royal Academy of Music o Varying fortunes of Italian opera success then failure. o Turned to Oratorio displayed mastery of the grand and the massive o Composed oratorios Messiah and Samson Produce occasional music for chorus and orchestra, for solo voices and vocal ensembles, chamber music
Handels style was derived from the German church music Influence by Purcell and music he heard in English Cathedrals Human feeling in his operas, oratorios and chamber music covers so wide a field Handel is called Universal.
Henry Purcell

Born: London 1659 At 9, chosen as a Chorister of the Children of the Chapel opportunity to learn music and study different instruments Purcell was given position of Composer to the Kings Band. At 20, he became Organist of Westminster Abbey highest church appointment in the Kingdom Later Years: o 1680: already recognised as a rising composer begun to write Odes in praise of the King. o Busy professional musician composing music for whatever and whomsoever it was needed. o Universally loves and respected Purcells musical output falls into four main categories: Church music, Dramatic music, Court and Occasional music, and music for amateurs Chamber music: Purcell embraces the old and new worlds more evenly than in his church music
Melodic Invention

Anacrusis: low dominant (5th) note First note of first bar: tonic note Imperfect cadence half way: II V Perfect cadence at the end: second last note one up from tonic, last note high tonic Leading note: 7th note dont leap to it, lead up to it Subdominant note: 4th note never leap from 4th to 7th and vice versa Phrasing two slurs, dont place rest in middle of a phrase. Add expression. Climatic point reach a climatic point towards end
Harmony

Soprano: middle C G Alto: first bass G D Tenor: low C treble G Bass: low, low F treble D
Perfect Cadence (V I)

Roots first Build chord V Leading note rises Common note remains Complete chord I
Interrupted Cadence (V VI)

Roots first Build chord VI first so that hand fits the octave Place chord V inside the octave leading note and other 2 parts step down
Rudiments

Major Scales: T T S T T T S Minor Scales: T S T T S T S Double Sharp: raises a note 2 semitones Double Flat: lowers a note 2 semitones Semitones: o Diatonic semitones: 2 notes have different staff names, e.g. B C o Chromatic semitones 2 notes have the same staff names, e.g. C C# Enharmonic Equivalent: given note is given another staff name, e.g. F and E#

Musicianship, 4th Grade

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The Suite Allemande

Georg Frideric Handel

Interrupted Cadence (V VI)

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